Use of Twitter and media coverage of the Andalusian Holy Week due to the suspension of processions caused by Covid-19

La Semana Santa en Andalucía es una de las mayores manifestaciones de religiosidad popular. En ella, los ciudadanos participan de las procesiones, actos y eventos tradicionales desde el siglo XIV. El Covid-19 supuso que en 2020 y 2021 no se pudieran celebrar dichos actos en la calle, pero la labor de las cofradías permaneció activa, especialmente en redes sociales, de lo que se hicieron eco los medios de comunicación. Este artículo utiliza el análisis de contenido para investigar los 2.856 tweets publicados por las instituciones que organizan las procesiones de Semana Santa en las ocho capitales de provincia de Andalucía entre 14/03/2020 y 31/01/2021. Además, se ha efectuado una categorización automática con MeaningCloud y se ha analizado su presencia en medios a través de MyNews, con el fin de identificar noticias relacionadas con las exposiciones del patrimonio religioso de las cofradías que se anunciaron en Semana Santa ante la ausencia de procesiones presenciales. Este último análisis se realizó con las publicaciones entre el 01/01/2021 y el 28/02/2021. Se detecta que el Consejo de Hermandades de Sevilla fue la entidad con más posts, pero también la que más tweets no consiguieron retweet por parte de la comunidad online; y que la publicación de contenidos se concentró en abril de 2020. Se confirma que la cantidad de publicaciones en Twitter no implica una mayor repercusión o interacción con los públicos y que el análisis con herramientas automatizadas no está adaptado a la terminología específica y la presencia en medios no es relevante.Easter Week in Andalusia is one of the greatest manifestations of popular religiosity. Citizens have been taking part in traditional processions, acts and events since the 14th century. Covid-19 meant that in 2020 and 2021 these events could not be held in the streets, but the work of the brotherhoods remained active, especially in social networks, which was echoed in the media. This article uses content analysis to investigate the 2,856 tweets published by the institutions that organise the Easter Week processions in the eight provincial capitals of Andalusia between 14/03/2020 and 31/01/2021. In addition, an automatic categorisation was carried out with MeaningCloud and their presence in the media was analysed through MyNews, in order to identify news related to the exhibitions of the religious heritage of the brotherhoods that were announced at Easter in the absence of on-site processions. This last analysis was carried out with publications between 01/01/2021 and 28/02/2021. It was found that the Council of Brotherhoods of Seville was the entity with the most posts, but also the one with the most tweets that were not retweeted by the online community; and that the publication of content was concentrated in April 2020. It is confirmed that the number of publications on Twitter does not imply a greater impact or interaction with the public and that the analysis with automated tools is not adapted to the specific terminology and the presence in the media is not relevant

Managing Digital Presence in Wineries Practicing Heroic Agriculture: The Cases of Ribeira Sacra and Lanzarote (Spain)

Wine tourism has become an exciting avenue of development for rural wine-producing regions. The channels through which these millenary traditions are transmitted are diverse, and the wineries that practice heroic viticulture can sustainably influence the economic recovery process, especially after the COVID-19 crisis. This paper analyzes the possibilities offered by social media to promote rural territory and wine production in a sustainable way through wine tourism. For this purpose, we have used the case study of the wineries of the Ribeira Sacra appellation of origin and the Canary Islands context in the Lanzarote AO. The methodology used has counted, on the one hand, the existence of web pages of the geographical demarcations mentioned. On the other hand, a study of these wineries’ presence on the three main social networking sites, Facebook, Twitter and Instagram, has been carried out. The main focus has been on a content analysis of the social network Instagram, taking into account the terroir’s emotional values and tourist attractions. The results show that their presence on the Internet could be higher, as only 55% of the wineries of these appellations of origin have a website. In the case of Instagram, the percentages decrease in Ribeira Sacra and increase in Lanzarote. Finally, it has been possible to trace a model of rural development supported by sustainable tourism, wherein emotional values and transmitted attractions stand out, alongside elements related to the landscape and nature and the wine landscape, tradition and gastronomy.Partial funding for open access charge: Universidad de Málag

Use of Twitter and media coverage of the Andalusian Holy Week due to the suspension of processions caused by Covid-19

La Semana Santa en Andalucía es una de las mayores manifestaciones de religiosidad popular. En ella, los ciudadanos participan de las procesiones, actos y eventos tradicionales desde el siglo XIV. El Covid-19 supuso que en 2020 y 2021 no se pudieran celebrar dichos actos en la calle, pero la labor de las cofradías permaneció activa, especialmente en redes sociales, de lo que se hicieron eco los medios de comunicación. Este artículo utiliza el análisis de contenido para investigar los 2.856 tweets publicados por las instituciones que organizan las procesiones de Semana Santa en las ocho capitales de provincia de Andalucía entre 14/03/2020 y 31/01/2021. Además, se ha efectuado una categorización automática con MeaningCloud y se ha analizado su presencia en medios a través de MyNews, con el fin de identificar noticias relacionadas con las exposiciones del patrimonio religioso de las cofradías que se anunciaron en Semana Santa ante la ausencia de procesiones presenciales. Este último análisis se realizó con las publicaciones entre el 01/01/2021 y el 28/02/2021. Se detecta que el Consejo de Hermandades de Sevilla fue la entidad con más posts, pero también la que más tweets no consiguieron retweet por parte de la comunidad online; y que la publicación de contenidos se concentró en abril de 2020. Se confirma que la cantidad de publicaciones en Twitter no implica una mayor repercusión o interacción con los públicos y que el análisis con herramientas automatizadas no está adaptado a la terminología específica y la presencia en medios no es relevante.Easter Week in Andalusia is one of the greatest manifestations of popular religiosity. Citizens have been taking part in traditional processions, acts and events since the 14th century. Covid-19 meant that in 2020 and 2021 these events could not be held in the streets, but the work of the brotherhoods remained active, especially in social networks, which was echoed in the media. This article uses content analysis to investigate the 2,856 tweets published by the institutions that organise the Easter Week processions in the eight provincial capitals of Andalusia between 14/03/2020 and 31/01/2021. In addition, an automatic categorisation was carried out with MeaningCloud and their presence in the media was analysed through MyNews, in order to identify news related to the exhibitions of the religious heritage of the brotherhoods that were announced at Easter in the absence of on-site processions. This last analysis was carried out with publications between 01/01/2021 and 28/02/2021. It was found that the Council of Brotherhoods of Seville was the entity with the most posts, but also the one with the most tweets that were not retweeted by the online community; and that the publication of content was concentrated in April 2020. It is confirmed that the number of publications on Twitter does not imply a greater impact or interaction with the public and that the analysis with automated tools is not adapted to the specific terminology and the presence in the media is not relevant

VOGUE magazine adaptation to the new digital context of fashion journalism

This research analyzes how Vogue, as a paradigm of fashion journalism, has been adapting to the new digital context, according to the strong influence that it has on this journalist area. After a contextual introduction to the field of women’s magazines, this articles analyses the case of Vogue as an icon. Then, the research analyzes the web content through the following variables: target audience, main sections, type of structure, presence of its editors on the cover, advertising formats, mechanisms of promotion in social media, distribution of the main content (fashion and beauty), type and number of interactivity with readers and use of brand placement with selected brands. The research concludes that Internet has become a key allied of fashion magazines and social media has turned in a great opportunity. However, this sector of the journalistic industry must face new challenges. In the specific case of Vogue, it must be underlined that, thanks to the digital tools, this magazine has expanded its audience not only quantitatively, but also in new profiles, such as a younger audience

La adaptación de la revista VOGUE al nuevo contexto digital del periodismo de moda

El presente trabajo analiza la adaptación al contexto digital de la revista Vogue, como paradigma del periodismo de moda, teniendo en cuenta la influencia que esta publicación ejerce sobre dicho sector. Tras una introducción contextual de las revistas femeninas, se examina Vogue como icono en su sector para posteriormente llevar a cabo el análisis de contenido de su web a través de las siguientes variables: audiencia, secciones principales, tipo de estructura, presencia de sus editoras en portada, formatos publicitarios, mecanismos de promoción en redes, distribución de los contenidos principales (moda y belleza), tipo y número de interactividad con las lectoras y uso del brand placement con las marcas selectas. Como principal conclusión, se puede decir que Internet se ha convertido en una herramienta aliada de las revistas de moda y que las redes sociales han resultado ser una gran oportunidad, si bien surgen ahora nuevos retos. En el caso de Vogue, cabe destacar que la revista ha ampliado su audiencia no solo cuantitativamente, sino también en nuevos perfiles, como por ejemplo la cobertura de una nueva franja de edad más joven

Release of the Fourth Season of Money Heist: Analysis of Its Social Audience on Twitter during Lockdown in Spain

Nowadays we are witnessing a significant change in content consumption. This, together with the global health situation, has caused some behaviors to accelerate. This research focuses on the specific case of the lockdown in Spain and the coincidence with the launch of the fourth season of Money Heist compared to the launch of season three. Starting with a review of the theoretical framework, in which the related concepts of coronavirus, television, and Video on Demand (VOD) platforms are presented, the importance of transmedia communication is also introduced. The methodological aspect is developed through content analysis and in-depth interviews. The tool used on the first methodology has been Twlets. With regard to the sources, the specific bibliography of the audiovisual sector, the official profile of the series on Twitter and personal interviews with professionals from the communication department of the production company, Vancouver Media, and from the series directing were taken into account. The methodology used to carry out this work has been the analysis of quantitative-qualitative content of the various sources consulted. The results of the study are presented in graphs, crossing the data from the different sources to detect the strategies of marketing and communication used for the release of the fourth season of the series. These results reflect the change in the communication strategy, the behavior of the social audience of the Twitter account of Money Heist (La Casa de Papel) and its relationship with the period of lockdown in Spain

Análisis de las marcas publicitarias como identificadores de distopía: presencia de marca en Black Mirror

This research focuses on the presence of product placement and its relevance for the narrative discourse through a content analysis of the presence of brand placement in the 23 episodes of the five broadcast seasons of the Netflix series Black Mirror, with a total footage of nearly 1,400 minutes of review. The study shows that there are 773 brand appearances (real and fictional), with 40 minutes and 45 seconds of presence. The study affirms that the brands placed by the production requirements also offer a relevant narrative value for the transmission of dystopian realism desired by the authors, optimising creativity in the relationship between the narrative, the product shown and the passive or active viewer, but all this, always within the limits of current audiovisual regulation and bringing the trends that technology and advertising can offer in the short term to television series and brands to create personalised programmatic advertising actions.La presente investigación se centra en conocer la presencia de la publicidad emplazada y su relevancia para el discurso narrativo a través de un análisis de contenido sobre la presencia del emplazamiento de marcas en los 23 episodios de las cinco temporadas emitidas de la serie Black Mirror, producción de Netflix, con un metraje total cercano a 1.400 minutos de revisión. El estudio muestra que existen 773 apariciones de marcas (reales y ficticias), con 40 minutos y 45 segundos de presencia. El estudio afirma que las marcas emplazadas por las exigencias de la producción ofrecen además un relevante valor narrativo para la transmisión de realismo distópico que desean los autores, optimizando la creatividad en la relación entre la narración, el producto mostrado y el receptor pasivo o activo, pero todo ello, siempre dentro de los límites de regulación audiovisual existentes y acercando las tendencias que la tecnología y la publicidad pueden ofrecer en corto plazo a las series de televisión y marcas para crear acciones publicitarias programáticas personalizadas

Brand analysys as identifiers of dystopia: prop placement in Black Mirror

La presente investigación se centra en conocer la presencia de la publicidad emplazada y su relevancia para el discurso narrativo a través de un análisis de contenido sobre la presencia del emplazamiento de marcas en los 23 episodios de las cinco temporadas emitidas de la serie Black Mirror, producción de Netflix, con un metraje total cercano a 1.400 minutos de revisión. El estudio muestra que existen 773 apariciones de marcas (reales y ficticias), con 40 minutos y 45 segundos de presencia. El estudio afirma que las marcas emplazadas por las exigencias de la producción ofrecen además un relevante valor narrativo para la transmisión de realismo distópico que desean los autores, optimizando la creatividad en la relación entre la narración, el producto mostrado y el receptor pasivo o activo, pero todo ello, siempre dentro de los límites de regulación audiovisual existentes y acercando las tendencias que la tecnología y la publicidad pueden ofrecer en corto plazo a las series de televisión y marcas para crear acciones publicitarias programáticas personalizadas.This research focuses on the presence of product placement and its relevance for the narrative discourse through a content analysis of the presence of brand placement in the 23 episodes of the five broadcast seasons of the Netflix series Black Mirror, with a total footage of nearly 1,400 minutes of review. The study shows that there are 773 brand appearances (real and fictional), with 40 minutes and 45 seconds of presence. The study affirms that the brands placed by the production requirements also offer a relevant narrative value for the transmission of dystopian realism desired by theauthors, optimising creativity in the relationship between the narrative, the product shown and the passive or active viewer, but all this, always within the limits of current audiovisual regulation and bringing the trends that technology and advertising can offer in the short term to television series and brands to create personalised programmatic advertising actions